Combined natural color kit and chart



May 8, 1934.

H. E. BRAEGk COMBINED NATURAL COLOR KIT AND CHART ATTORNEYj May 8, 1934.E, BRAEG 1,957,816

COMBINED NATURAL COLOR KIT AND CHART Filed June 25. 1932 Z'Sheets-Sheet2 INVENTOR [ma/yae/ raq -Bvmfm ATTORNEY Patented May 8, 1934 Y LamisCOMBINED NATURAL COLOR KIT AND CHART Herman Emanuel Braeg, Gakland,Calif., assignor to St. Marys College, Oakland, Calif., a corporation ofCalifornia Application `lune 25, 1932, Serial No.l 619,347

2 Claims,

This invention relates to improvements in methods and apparatus for usein applying color systems, and more particularly to an improvedcombination color chart and container for coloring material.

I-litherto, it has been customary to make up socalled color boxescontaining a Variety of pigments in any desired order. To secure theproper blending of such colors required a distinct amount of skill onthe part oi the artist or student and involved a great amount ofpreliminary study. For their knowledge of color principles, students,generally, were dependent upon theoretical presentations of the subject.This was especially true where gradations in color or color tones weredesired. Such gradations in color tones are characteristic'of allvisible objects, but are substantially uniformly nonexistent, or iipresent are not clearly and accurately portrayed, so that paintings ofall kinds, and particularly pastels, have been characterized by acoldness and unnaturalness, which have detracted from the artisticeffect of the picture or painting.

Among the objects of this invention are the provision o an'improvedcolor system in which a plurality of colors are presented in varioustones or color Value groups, Veither pure and/or neutralized, togetherwith the corresponding complementary colors in like Vtone Values, thesaid colors being made up in any desired range of tones and beingfurther presented or encased in a container or box in such a manner asto form a color chart by the arrangement oi the coloring materialsthemselves, a separate color chart being associated with the saidcontainer if desired. Y In addition, the novel inventive conceptsVherein considered are disclosed with respect to their application to aspeciic painting problem whereby the method steps are embodied in aphysical reproduction such as a landscape painting.

In the drawings accompanying the specification and forming part thereof,like numerals refer to similar parts throughout the several drawings, ofwhich Fig. l is a top plan view-of a combination color box and colorchart, in which the color value groups are separately presented, thecover of the box having a separate printed color chart; and

Fig. 2 is a perspective or a landscape with the color values of severalportions thereof identied and referred to the color chart elements.

Referring more particularly to the drawings, in Fig. 1 there is shown acolor box 100 having a cover 101, which may be secured thereto in anysuitable manner, such as by means of hinges 102, although it will, ofcourse Ybe appreciated that the cover may be unattached to the bodyportion of the box and be adapted to nest thereon. A printed color chart103 may be secured to the inside of the cover in any suitable manner,this chart being a duplicate representation of the colors as found andarranged in the body portion oi the box, now to be described.

The body portion of the box 100 is provided with a plurality cicompartments 110, oi any desired size and shape, and in any desiredarrangement. These compartments may be iormed by partitions lll, whichmay be of wood, metal, pasteboard, or any other suitable material, andappropriately secured to the box or formed integrally therewith.

In the several compartments, the color elements l2() are arranged in anydesired manner, as will be pointed out more particularly hereinafter.These elements may comprise chalks, pastels, tubes, eitherwater colors,oils or tempera, anilin colors and pigments generally, including pancolors o1" all descriptions, and is adapted for use with all known typesof color media.

A particularly novel feature of this invention resides in thepreparation of the several colors in a variety of color values or tones,either pure, partly neutralized or neutral. The several elementsencompassed in a particular color tone or value group may be containedin an individual compartment 110, and a plurality of color groups ofvarying tone maybe arranged sequentially in any desired manner. Thus, inthe upper row of colors, designated generally by the numeral 130, thespecific colors, ranging from 1 to 24, each numeral designating aparticular color element, as will be described more in detailhereinafter, the group, comprising elements 1 to 6, may be colors-oi alight tone, while the groups, comprising elements 'l' to l2, 13 to 18and 1 9 to 24 may be of different color tones or values, each element inthe several groups, however, being of the same tone Value as the othercolors in the same group.

The invention not only comprehends the use oi a plurality of groups ofcolors, wherein the colors of each group have approximately the samecolor value, but also comprehends the association with each said groupof other like groups of complementary colors, as shown in the secondrow, designated generally by the numeral 131. These vcomplementarycolors, specically designated by the numerals 25 to 48, inclusive, aredivided into groups similar to the groups formed by their mutuallycomplementary colors l to 24.

and also avoids the distracting influence resulting from theinterposition of technical steps such as mixing and colei.1 comparisons.These latter steps are particularly distracting where actual painting isbeing accomplished, as easier and more rapid ilow of work is permittedto the artist by having the necessary colors immediately available andwithout requiring auxiliary and time consuming tests.

A particularly advantageous feature made possible by the application ofthe principles of the present invention, is that direct painting is madefar more possible than by any other method or means hitherto available.The prior art means, generally, as indicated hereinabove, have requiredthe preparation, mixing and application of variously colored pigments ormaterials during the course of the painting, with the result thatduplication of mixtures is substantially impossible in any twopaintings; so that the color values of a given object under similarconditions would vary considerably in any two reproductions made by thesame individual.

VOther advantages as to the use of the colors Y and theircomplementaries will be described later in conjunction with a particulardescription of the color elements.

By way of particular example, the color elements herein shown anddescribed may comprise four groups of tones, the first group being lighttones in warm and complementary cold colors with succeeding groups ofmedium, grayed and dark tones in the same warm and complementary coldcolors. In the improved color box and cha-rt herein shown, the sections110 may be so constituted and arranged as to contain a desired number ofcolor elements as such or in appropriate containers.

The tones as shown, and which form a satisfactory group forinstructional purposes and for y' general artist use, may comprise thefollowing groups. The numbers designating each color correspond to theposition of such color elements in the improved color box and chart.

(Note. Pure colors means the colors of the solar spectrum.)

Graz/ed tones (partly neutralized) Each tone is partly neutralized byits complementary about 80 to 20 N o. 13. Yellow (7 partly neutral- No.37. Violet (3l partly neutral ized by 31). ized by 7 14. Orange (8partly neutral- 38. Violet blue (32 partly ized by 32). neutralized by8).

l5. Orange red (9 partly neu- 39. Blue (33 partly neutraltralized by33). ized by 9).

16. Scarlet (l partly neu- 40. Blue green (34 partly traliZed by 34).neutralized by l0).

17. Carmine (1l partly neu- 41. Green (35 partly neutralized by tralizedby 11).

18. Violet (12 partly neutral- 42. Yellow green (36 partly ized by 36).neutralized by l2).

Dark tones No. 19. Yellow (darkened with No. 43. Violet.

black about 3 yellow, 44. Blue (darkened with 7 black). black 8 blue, 2black). 20. Orange (darkened with Green (darkened with black about 3orange, black 8 green, 2 black). 7 black). Light cold gray (white 2l.Carmine (darkened with 9% parts, No. 33,

black about 3 Carmine, part). 7 black). 47. Medium cold gray 22. Lightwarm gray (white (white 7 parts, N o. 39,

8 parts, No.`52, 2 parts). 3 parts). Medium wann gray 48. Dark cold gray(black 7 (white 7 parts, No. 14, parts, No. 33, 3 parts). 3 parts). 24.Dark warm gray (black 7 parts, No. 14, 3 parts).

Supplementary colors No. White Yellow deep (golden) Orange (intense)Yellow ochre Yellow green (intense) Carmine (Intensity between light andmedium) Violet (Intensity between light and medium) Blue (Intensitybetween light and medium) These supplementaries are supplied because inthe arrangement according to values, white and certain much neededintensities and intermediate color values do not occur.

The gray and grayed tones are partly neutralized by theircomplementaries, a satisfactory ratio being about parts of thepredominating color to 20 parts of the neutralizing or complementarycolor. lThus, in the group comprising grayed tones, yellow #13 would beprepared by mixing or neutralizing 80 parts of yellow #7 withapproximately 20 parts of violet #31. In a similar manner, grayed violet#37 would be prepared by partly neutralizing pure violet #31, 80 parts,with about 20 parts pure yellow #7. The remaining grayed tones can beprepared by neutralizing the respective complementaries in the samemanner as indicated in the chart above listed.

The light tones may be prepared by lightening the pure or medium toneswith white in suitable proportional admixtures.

The dark tones comprising the warm colors #1Q-#24 and the complementarycold colors #4B-#48, may be darkened with any suitable pigment such asblack, thus, for example, a dark yellow #19 may comprise medium yellow 3parts and black 7 parts, and orange and carmine #2O and #21,respectively, may comprise 3 parts of the respective colors, each mixedwith 7 parts black. The light, medium and dark grays, #22, #23 and #24,respectively, may be made by mixing various colors in desired amounts;thus, light warm gray #22 may be made by mixing 8 parts white with 2parts yellow ochre #52. Medium warm gray #23 may be made by mixing 7parts of white with 3 parts of grayed orange #14.

Dark warm gray #24 may be made by mixing 7 parts black with 3 parts ofgrayed orange #14. The corresponding light, medium and dark cold grays,respectively, #46, #47 and #48 may be made in the following manner:light cold gray #46 may be made by mixing substantially 9% parts whitewith 1/2 part of medium blue #33.

Medium cold gray #47 may be made by mixing 7 parts white with 3 partsgrayed blue #39. Dark cold gray #48 may be made by mixing 7 parts blackwith 3 parts medium blue #33.

To supplement these various color tone sets, the supplementary colorslisted above are preferably included in the color box and they'aresupplied because in such an arrangement, according to color values,white and certain much needed,

lof dark carmine intensities and intermediate color values do not occur.l y

It will now be seen that there has been provided animproved artist colorbox or kit in which a group of colors or hues with their correspendingcomplementary colors is provided-in a series of admixtures to givegroups of shades or tones of the respective colors. In addition, therehas been provided a separate color group in which the original hues havebeen mixed with white in desired vproportions to give adesired tint. Byproviding such a shade or tone series of 4color elements in whichvarious tints, medium tones, grayed tones and dark tones are presentedof both the warm colors and their complementary cold colors, the studentor artistis provided with a color chart which enables him to evaluatecolors, tints and shades in nature, more accurately, and, at the. sametime, enables him to more faithfully reproduce a desired natural scenein a faithful, pictorial representation.

By providing in a single kit a group of colors and its coniplementariesin a variety of tones or shades, the student is enabled to appreciateshade differences as well as color differences from the very beginningof his instruction and studies; and the appreciation of such shade,tone, hue color and Vtint differences thus becomes more o uicklyassimilated without imposing undue periods of study upon the students.It is further considered that in the case of artists and students whosecolor sense is of a relatively low order, the improved kit or artist setof the present invention will provide a desirable means ofsuppleinenting such inherent lack in the students or artists capacity toappreciate color differences. By presenting coloi` and tone or shadedifferences to a student from the very beginning of his instructionalperiod, appreciation of such differences will follow as a matter ofcourse, due to familiarity engendered by constant use of the improvedset herein disclosed and claimed.

With respect to skilled artists, the incorporation of the concepts ofthe present invention in one or more kits will provide such persons witha working range of materials, in color, far exceeding that hithertoavailable except to indefatigable workers who have also had sufficientartistic and technical training to be able to prepare their own colorsin any desired shades or tones.

By way of practical illustration, there is shown in Fig. 2 of thedrawings an outline sketch of a landscape in which the various colorvalues of the landscape features have been designated by numeralscorresponding to the appropriate numerals designating color elements inthe charts presented hereinafter. Thus, the landscape, generally,represents a tree in the left foreground with a clump of trees in themiddle distance and a single tree in the right middle foreground,mountains in the background, and a bright, clear sky.

The foliage of the tree in the foreground is represented at the top bythe numeral 53 indicating a yellow green, dashes of violet red (No. 6)being interspersed to relieve the monotony of the eoior. The shadedportions of the foliage are represented by dark green (No. 45) withsplotches (No. 21) to relieve the monotony. The trunk of the tree, inthe shadow, is formed by dark orange (No. 20), while the parts of thetrunk in direct sunlight are formed of intense orange (No. 51). Theshadow portions vof the trunk are relieved by splotches of dark blue(No. 44) while the unshadowed or bright portions are relieved-bysplotches of medium vilo- -let (No. 3l). The clump of trees in themiddle distance will have the upper part of directly illuminated foliagein light green (No. 29), while the lowerportions of the foliage will berepresented in the medium green (No. 35), set off by splotches of white(No. 49). The darkened portion of the treetrunk will be colored in darkorange (No. 20), relieved by splotches of white (No.k 49),.whi1e thelighter portions of the trunk will be done in light orange (No. 2), alsorelieved by splotches of white (No. 49).

The tree to the right of the drawings, being between the two setspreviously discussed, will have intermediate color values with respectto the observer. Thus, the top foliage exposed to the direct sunlightwill be rendered in light yellow green (No. 30), accentuated or livenedup by interspersing splotches of violet red (No. 36). The lower foliagein the shadow will be done in a grayed yellow green (No. 42), which alsomay be livened or brightened up by the interspersion of splotches of thecomplementary grayed violet (No. 18). The light portions of the treetrunk will be done in light orange (No. 2), relieved by splotches of thecomplementary light violet blue (No. 26). The shadow portions of thetrunk will be done in grayed orange (No. 14), enlivened by splotches ofthe complementary grayed violet blue (No. 38). The distant hills may bedone in light blue (No. 27). The foreground may be donek in aY varietyof greens, each section of which may be enlivened by appropriateinclusion of splotches of the corresponding complementary color or tone.

While the use of complementary colors to liven up masses of color hasbeen known for many years, the choice of the appropriate complementarycolor in the right tone or color value has always been left to theartist, because of the fact that no means was available to him, otherthan his own inherent or acquired skill, to enable the choice of theproper color tone for the purposes desired.

With the improved color kit of the present invention, the artist workingwith a particular color, is never at a loss for the correspondingcomplementary color, as it is always adjacent to the color in use. Thus,the element of guess work in the choice of colors and theircomplementaries, is largely eliminated and the student, as well as theskilled artist, is assisted in determining the appropriate colors to usefor securing a desired color harmony in the picture being prepared, orto reproduce specific objects or scenes in their natural colors.

While a specific illustration of the method of use of the improved colorbox of the present invention has been disclosed, and the box, per se,has been illustrated with certain color elements in various tone groups,disclosed therein, it will, of course, be appreciated that the color boxor artist kit may be expanded to include further intermediate tonegroups. The formation of these intermediate tone groups from a color setsuch as the one herein disclosed will be readily and accurately carriedout by even a tyro because the principles of color mixing to secure adesired tone will be self-evident and self-explanatory from thearrangement of colors in desired sequences and complements as well as insimilar groups of various color or tone values.

It will now be appreciated that there has been provided improvements inmethods and apparatus for instructional and professional purposesinvolving the use of a novel color kit in which a desired arrangement ofcolors is presented in a series of groups of varying shade or tonevalue. The improved combination color kit and chart of the presentinvention is particularly adapted for use in the teaching and study ofcolor according to the Helmholtz presentation of the law of direct lightin which the basic co1- ors are given as red (French Vermillion), green(emerald green), and violet (spectrum violet) as opposed to the systemsinvolving the pigmentary spectrum of Sir Isaac Newton, which may also besaid to involve the law of reected light and in which the basic colorsare red (scarlet), yellow and blue. By mixing -red and green of thespectrum primaries of Helmholtz, the complementary yellow of thepigmentary primary is formed. Green and violet in the spectrum groupwill combine to give a pigmentary blue, while violet and red of thespectrum group will give a crimson. Thus, the spectrum primaries havebeen found to be complementary to the pigmentary primaries and viceversa.

It vwill also be .appreciated that there has been provided a novelmethod and means, including a kit or box having a series of colors andtheir'complementaries arrangedin a varietyof tone groups, `theincorporation of which in a uni-tary kit or box enables an artist orstudent to readily and accurately vchoose a basic color for his work andthereafter promptly and properly associate therewith the desiredcomplementary colors as well as to vary the shades of these -colorsaccording t0 the aspect of the surface or artimes to be col.- ored asdirectly illuminated, shadowed ordark.- ened area or surface.

While certain novel features 0f the invention have been disclosed andare pointed out in the annexed claims, it will be'understood thatvarious omissions, substitutions and changes may be made by thoseskilled in theart without departing from the spirit o f the invention.

What is claimed is:

1,. An improved instruction kit for artists -and students, comprising,in combination, a jbox having rows of partitions defining juxtaposedc0113- partments, one of said rows of compartments having a series ofsets of color tools arranged therein, each said set being similar coloralF rangement and number to the other Said s ets, but varying in lightyand shade values; the companion row of juxtaposed compartments,comprising a like number series of colors arranged in equivalent butcomplementary light ,and shade values.

2. An improved color set particularly adapted for instruction purposes,comprising a box hav.- ing at least two rows of walled compartments,each -compartment in a given row having similar sets lof `color toolsarranged by hues, each color ina row being complementary to thesimilarly positioned -color in an vadjacent row, the successive lateralcompartments Ahaving similarly arranged sets of .color tools, butvarying in light and shade values, the several color ytools in eachcompartment .being of the same ,light and shade value.

HERMAN EMA'NUEL BRAEG.

